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Page "Archery" ¶ 19
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is and most
I want the room in the attic prepared for him He is a most unusual lad, quite precocious in many ways.
In fact it has caused us to give serious thought to moving our residence south, because it is not easy for the most objective Southerner to sit calmly by when his host is telling a roomful of people that the only way to deal with Southerners who oppose integration is to send in troops and shoot the bastards down.
but for this discussion the most important division is between those who have been reconstructed and those who haven't.
But apart from racial problems, the old unreconstructed South -- to use the moderate words favored by Mr. Thomas Griffith -- finds itself unsympathetic to most of what is different about the civilization of the North.
The general acceptance of the idea of governmental ( i.e., societal ) responsibility for the economic well-being of the American people is surely one of the two most significant watersheds in American constitutional history.
Accidental war is so sensitive a subject that most of the people who could become directly involved in one are told just enough so they can perform their portions of incredibly complex tasks.
Even though in most cases the completion of the definitive editions of their writings is still years off, enough documentation has already been assembled to warrant drawing a new composite profile of the leadership which performed the heroic dual feats of winning American independence and founding a new nation.
It is clear that, while most writers enjoy picturing the Negro as a woolly-headed, humble old agrarian who mutters `` yassuhs '' and `` sho' nufs '' with blissful deference to his white employer ( or, in Old South terms, `` massuh '' ), this stereotype is doomed to become in reality as obsolete as Caldwell's Lester.
Presenting an individualized Negro character, it would seem, is one of the most difficult assignments a Southern writer could tackle ; ;
All but the most rabid of Confederate flag wavers admit that the Old Southern tradition is defunct in actuality and sigh that its passing was accompanied by the disappearance of many genteel and aristocratic traditions of the reputedly languid ante-bellum way of life.
Yet often fear persists because, even with the most rigid ritual, one is never quite free from the uneasy feeling that one might make some mistake or that in every previous execution one had been unaware of the really decisive act.
Perhaps the most illuminating example of the reduction of fear through understanding is derived from our increased knowledge of the nature of disease.
The consciousness it mirrors may have come earlier to Europe than to America, but it is the consciousness that most `` mature '' societies arrive at when their successes in technological and economic systematization propel them into a time of examining the not-strictly-practical ends of culture.
And the life they lead is undisciplined and for the most part unproductive, even though they make a fetish of devoting themselves to some creative pursuit -- writing, painting, music.
The music which Lautner has composed for this episode is for the most part `` rather pretty and perfectly banal ''.
Presupposed in Plato's system is a doctrine of levels of insight, in which a certain kind of detached understanding is alone capable of penetrating to the most sublime wisdom.
As long as perception is seen as composed only of isolated sense data, most of the quality and interconnectedness of existence loses its objectivity, becomes an invention of consciousness, and the result is a philosophical scepticism.
And it is precisely in this poorer economic class that one finds, and has always found, the most racial friction.
It is something which most of us try to get out from under.
We assume for this illustration that the size of the land plots is so great that the distance between dwellings is greater than the voice can carry and that most of the communication is between nearest neighbors only, as shown in Figure 2.

is and popular
That is particularly true of sovereignty when it is applied to democratic societies, in which `` popular '' sovereignty is said to exist, and in federal nations, in which the jobs of government are split.
Not all recent science fiction, however, is dystopian, for the optimistic strain is still very much alive in Mission Of Gravity and Childhood's End, as we have seen, as well as in many other recent popular novels and stories like Fred Hoyle's The Black Cloud ( 1957 ) ; ;
No other popular idol is accorded even that much grace.
But by comparison with the railroad, the motor car is a relatively new object of popular worship, so it is too much to hope that it may be brought within the bounds of civilized usage quickly and easily.
Taking account of the fact that such a move on our part would be unpopular in world opinion, he argued that the responsibility of the United States is `` to do, confidently and firmly, not what is popular, but what is right ''.
But as the popular response suggests, the potentiality of the Peace Corps is very great.
A salad with greens and tomato is a popular and wonderfully healthful addition to a meal, but add an avocado and you have something really special.
For decades it was the most popular dish served in the Ladies' Grill at breakfast, and it is one of the few old Palace dishes that still survive.
In California is located one of the most popular of the national parks -- Yosemite.
Easy to get to, and becoming more popular every year, it is only fourteen hours from New York by Pan American World Airways jet, four hours from Rome.
For those who need or want and can afford another car, buying one and driving it on the grand tour, then shipping it home, is one popular plan for a do-it-yourself pilgrimage.
Leasing a car is not as common or as popular as renting a car in Europe, but for long periods it will be unquestionably more economical and satisfactory.
The data is now interpreted in conjunction with a price chart, usually of a popular stock average.
Again, contrary to popular belief, there is nothing crazy or frantic about Parker either musically or emotionally.
Continuity exits, but like the neo-swing music developed from Lester Young, it is a continuity sustained by popular demand.
A political scientist writes of the growth of `` alienated voters '', who `` believe that voting is useless because politicians or those who influence politicians are corrupt, selfish and beyond popular control.
About that same time John Crosby's TV series on the popular arts proved again that giving jazz ample breathing space is one of the most sensible things a producer can do.
No reference is made to the possibility of recording other than popular music in this manner, and it would not seem to lend itself well to serious music.
But for all the manifest intention to `` show off '', this was a circus with a difference, for instead of descending in quality to what is known as a popular level, it added further to the evidence that this is a very great dancing company.

is and form
( Since the time-span of the nation-state coincides roughly with the separate existence of the United States as an independent entity, it is perhaps natural for Americans to think of the nation as representative of the highest form of order, something permanent and unchanging.
And it is expressed, at least to their taste, in a perfect form.
The unit of form is determined subjectively: `` the Heart, by the way of the Breath, to the Line ''.
The test of form is fidelity to the experience, a gauge also accepted by the abstract expressionist painters.
But in this approach it is the artist's ultimate insight, rather than his immediate impressions, that gives form to the work.
It is through the metamorphosed dancer that the germ of form is discovered.
It only means that there will be new form, and that this form will be of such a type that it admits the chaos and does not try to say that the chaos is really something else.
That is why the form itself becomes a preoccupation, because it exists as a problem separate from the material it accommodates.
To find a form that accommodates the mess, that is the task of the artist now ''.
Though sex in some form or other enters into all human activity and it was a good thing that Freud emphasized this aspect of human nature, it is fantastic to explain everything in terms of sex.
How is the beat poet to achieve unity of form when he is at the same time engaged in a systematic derangement of senses.
But the highroad, according to the description of its traffic, belongs to life as it is lived in unawareness of death, while the way to the churchyard belongs to some other sort of life: a suffering form, an existence wholly comprised in the awareness of death.
And if I have gone into so much detail about so small a work, that is because it is also so typical a work, representing the germinal form of a conflict which remains essential in Mann's writing: the crude sketch of Piepsam contains, in its critical, destructive and self-destructive tendencies, much that is enlarged and illuminated in the figures of, for instance, Naphta and Leverkuhn.
All such imitations of negative quality have given rise to a compensatory response in the form of a heroic and highly individualistic humanism: if man can neither know nor love reality as it is, he can at least invent an artistic `` reality '' which is its own world and which can speak to man of purely personal and subjective qualities capable of being known and worthy of being loved.
Whitehead contends that the human way of understanding existence as a unity of interlocking and interdependent processes which constitute each other and which cause each other to be and not to be is possible only because the basic form of such an understanding, for all its vagueness and tendency to mistake the detail, is initially given in the way man feels the world.
In a bold, sometimes careless, form there is nothing academic ; ;
This is brought out in the next to last chapter of the book, `` A Hero's Funeral '', written in the form of an impassioned prose poem.
But let us not complain of the evils of capitalism by referring to a form that is not truly capitalistic.

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